There is one scene in The Legend of 1900 that is easily worth the price of admission. It finds the ship heeling in an Atlantic storm. In the ballroom Roth plays the piano as it moves and slides in an eerie waltz around the floor.

If the arrival of The Crow - a visually dazzling and hyperkinetic action movie - is an occasion to mourn the loss of Lee, it is also ample reason to celebrate the protean gifts of its director, Alex Proyas.

Penny Marshall brings a logic to the premise that is sustained through most of the movie. And where the other movies snickered at the sexual possibilities in the idea, she faces up to them with both candor and taste.

Fans of the original should relish going back to Back to the Future, as long as they keep in mind that in movies - as in life - you can't go home again. And if you do, things aren't likely to be the same. [22 Nov 1989, p.E1]